According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research about Chopin’s last style is to be situated. I use a combination of classical and narrative analysis to consider these two different but complementary aspects of a musical work. The musical work is divided into significant unities (discretization by segmentation) according to the topics and narratives actors use. By so doing, I want to integrate elements from the musical signification into the structural dimension of the work. However, this distinction allows us to go further and to bring to light the different narrative identities, by the relation and interactions of the discretized unities and their rhythmic states: complex course, simple course, less contrasted course, etc. Thus, these unities become entirely comprehensible by the global observation of the path and enable us to understand the construction and tracking of the work. Then, these elements can be used for the study of the interpretation at the level of the sound object (tempi and dynamics) and for the study of the choices made by performers. It will be asked if these unities are still relevant for the sound object and if they have an impact on the performance.